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221 - 230 of 837 results for: all courses

COMPLIT 200: War and the Modern Novel (ILAC 200E)

From the turn of the 19th century to well into the 20th century, novelists developed the theme of alienation and the decline of civilization. Along with the fall of centuries-old empires, World War I brought about the collapse of traditional European values and the dissociation of the subject. The aestheticizing of violence and the ensuing insecurity inaugurated the society of totally administered life, based on universal suspicion and pervasive guilt. The seminar will study narrative responses to these developments in some of the foremost authors of the 20th century from several European literatures: Knut Hamsun, Joseph Roth, Ernst Jünger, Virginia Woolf, Franz Kafka, Curzio Malaparte, Thomas Mann, Mercè Rodoreda, Antonio Lobo Antunes, and Jaume Cabré. Taught in English.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Resina, J. (PI)

COMPLIT 222A: Myth and Modernity (GERMAN 222, GERMAN 322)

Masters of German 20th- and 21st-Century literature and philosophy as they present aesthetic innovation and confront the challenges of modern technology, social alienation, manmade catastrophes, and imagine the future. Readings include Nietzsche, Freud, Rilke, Musil, Brecht, Kafka, Doeblin, Benjamin, Juenger, Arendt, Musil, Mann, Adorno, Celan, Grass, Bachmann, Bernhardt, Wolf, and Kluge. Taught in English. Note: To be eligible for WAYS credit, you must take GERMAN 222 or COMPLIT 222A for a minimum of 3 Units and a letter grade.
Terms: Spr | Units: 1-5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Eshel, A. (PI)

COMPLIT 223: Literature and Human Experimentation (AFRICAAM 223, CSRE 123B, HUMBIO 175H, MED 220)

This course introduces students to the ways literature has been used to think through the ethics of human subjects research and experimental medicine. We will focus primarily on readings that imaginatively revisit experiments conducted on vulnerable populations: namely groups placed at risk by their classification according to perceived human and cultural differences. We will begin with Mary Shelley's Frankenstein (1818), and continue our study via later works of fiction, drama and literary journalism, including Toni Morrison's Beloved, David Feldshuh's Miss Evers Boys, Hannah Arendt's Eichmann and Vivien Spitz's Doctors from Hell, Rebecca Skloot's Immortal Life of Henrietta Lacks, and Kazuo Ishiguro's Never Let Me Go. Each literary reading will be paired with medical, philosophical and policy writings of the period; and our ultimate goal will be to understand modes of ethics deliberation that are possible via creative uses of the imagination, and literature's place in a history of ethical thinking about humane research and care. Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-EthicReas, WAY-A-II, WAY-ER | Grading: Letter or Credit/No Credit

COMPLIT 229: Literature and Global Health (AFRICAAM 229, AFRICAST 229, CSRE 129B, FRENCH 229, HUMBIO 175L, MED 234)

This course examines the ways writers in literature and medicine have used the narrative form to explore the ethics of care in what has been called the developing world. We will begin with a call made by the editor-in-chief of The Lancet for a literature of global health, namely fiction modeled on the social reform novels of the nineteenth century, understood to have helped readers develop a conscience for public health as the field emerged as a modern medical specialty. We will then spend the quarter understanding how colonial, postcolonial, and world literatures have answered and complicated this call. Readings will include prose fiction by Albert Camus, Joseph Conrad, Tsitsi Dangaremgba, Amitav Ghosh, Susan Sontag as well as physician memoirs featuring Frantz Fanon, Albert Schweitzer, Abraham Verghese, Paul Farmer. And each literary reading will be paired with medical, philosophical, and policy writings that deeply inform the field of global health. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ER | Grading: Letter or Credit/No Credit

COMPLIT 235E: Dante's "Inferno" (ITALIAN 235E)

Intensive reading of Dante's "Inferno" (the first canticle of his three canticle poem The Divine Comedy). Main objective: to learn how to read the Inferno in detail and in depth, which entails both close textual analysis as well as a systematic reconstruction of the Christian doctrines that subtend the poem. The other main objective is to understand how Dante's civic and political identity as a Florentine, and especially his exile from Florence, determined his literary career and turned him into the author of the poem. Special emphasis on Dante's moral world view and his representation of character. Taught in English. nNOTE: Enrollment requires Professor Harrison's approval. Please contact him directly at harrison@stanford.edu
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Harrison, R. (PI)

COMPLIT 236E: Dante's "Purgatorio" and "Paradiso" (ITALIAN 236E)

Reading the second and third canticles of Dante's Divine Comedy. Prerequisite: students must have read Dante's Inferno in a course or on their own. Taught in English. Recommended: reading knowledge of Italian.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Harrison, R. (PI)

COMPLIT 249A: The Iranian Cinema: Image and Meaning (GLOBAL 249A)

This course will focus on the analysis of ten Iranian films with the view of placing them in discourse on the semiotics of Iranian art and culture. The course will also look at the influence of a wide array of cinematic traditions from European, American, and Asian masters on Iranian cinema. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

COMPLIT 249B: Iranian Cinema in Diaspora (GLOBAL 249B)

Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What more »
Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran? NOTE:This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Win | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

COMPLIT 249C: Contemporary Iranian Theater (GLOBAL 249C)

Today, Iranian plays both in traditional and contemporary styles are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement "which was altogether westernizing itself blindly" face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the d more »
Today, Iranian plays both in traditional and contemporary styles are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement "which was altogether westernizing itself blindly" face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the dearth of visual documents, an attempt will be made to present a picture of Iranian theater to the student. Students are expected to read the recommended available translated plays of the contemporary Iranian playwrights and participate in classroom discussions. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

COMPLIT 252A: Great Arabic Poetry

Introduction to the canon of Arabic poetry from the sixth to the twenty-first century. Imru' al-Qays, al-Mutanabbi, Mahmud Darwish, and more. Readings in Arabic. Two years of Arabic at Stanford or equivalent required. Counts for the Arabic Track in the MELLAC Minor.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Key, A. (PI)
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